Ideas 6 by Gensler_LA

IDEAS 6 2013 a Southwest Region publication organized and produced by the Gensler Los Angeles Design Directors

Introduction

“Luxury is ‘waste.’

In a real estate context, where every square meter counts, the ultimate luxury is ‘wasted’ space. Space that is not productive… affords contemplation, privacy, mobility, and luxury.”

We live in a time where the margins everywhere are small. With the global economy on a bubble in some arenas, flat in other areas, still dipping in others, there is a skepticism that taints any measure of optimism. This puts pressure to wring out any excess, driving the value up on efficiency, driving down the value of creative waste. Yet it is in this ‘waste’ where design thrives – both as product and as process. As product, it is in the idiosyncratic residual spaces of medieval cities to the elegant curves of a Pininfarina fender where the joys of design can be experienced. As process, it is in the unpredictable amount of time one takes to examine and explore one’s curiosity on an issue where one finds joy in designing, and it is that joy that ultimately can be experienced by all in the finished product. In a time where the act of discovery has by and large been replaced by instant access through the internet, we celebrate here in Ideas_6 the reaffirmation of those

places where discovery takes place through a reiterative process of pencil to paper, mouse to virtual space, knife and glue to tactile material. This intimate act through making in various media is where ideas are contemplated, and design is able to move. This is where a question is clarified, and if clearly answered, may lead to be deemed innovative by others. As such, Ideas_6 organizes various design studies into six sections, each focusing on a particular area of exploration. Visual examinations of the plan, section, form, skin, performance, and experience compose a three-dimensional framework of inquiry that focuses on the relationship of intent and its translation into products. A key project that demonstrates a deeper inquiry culminates each section. Documenting this circuitous process of work is the purpose of Ideas_6, for it is relevant to this time when its importance is being questioned. In a time where it appears one

-REM KOOLHAAS - PRADA EPICENTER

cannot afford any such ‘waste’ – of time or dollars - it ironically takes on the status of luxury. And it is this luxury that forms the basis of any culture; the litany of collections and museums as warehouses of culture throughout the world stands testament to the importance of such ‘waste.’ But in the context of the everyday pressure for productivity and profits, it is easy to see the editing out of such ‘waste’ as the means to improve the economy of design. Ideas_ holds that nothing could be further from the truth; that to do so edits out the very heart and soul of design. Instead we propose that the ability to integrate such ‘waste’ into this context is a design problem in itself. This is a dilemma that is central to the process of creative production today and its ensuing value, and we offer up Ideas_6 as a response to that challenge. ‡ by Li Wen

ts n te n o

20 4 o 3 8 e l b 4 2 Ta n on 6 a l 6 i P t 7 c e Se rm c n a Fo kin e m c r S erfo rien P xpe E fC

YONGSAN RETAIL CENTER PROJECT OFFICE: Los Angeles PROJECT TEAM: Duncan Paterson / Jeff Walker / Olivier Sommerhalder / Dave Bantz / Jon Breen / Pamela Nava / Lisa Pauli / Sung Suk Yoo LOCATION: Seoul, Korea PROGRAM: Mixed-Use Retail Center and Business District CLIENT: Yongsan International Business District

PROJECT SUMMARY This project is a 1.6 million square foot retail/ mixed-use complex that is part of the Yongsan International Business District. The masterplan by Studio Daniel Libeskind parcels the site into distinct zones. The World Cross zone, closest to the bustling Yongsan Station, is home to four office towers by Studio Daniel Libeskind, Dominique Perrault Architects, SOM, and Renzo Piano Building Workshop. From a design standpoint, Gensler’s project establishes a hybridized planning concept to tie these four towers together into a seamless lifestyle experience. By adopting the geometric cues of the towers above and defining a strong “address” for each tower, each geometric planning language is then blended and overlapped to create a dynamic spatial environment made up of a mix of retail, office, and open space. The project can be thought of as an urban museum, which is established by the towers, linked by an organic and differentiated retail component that maneuvers to highlight the “shared values.”

OVERALL YONGSAN INTERNATIONAL BUSINESS DISTRICT SITE PLAN “THE SKY ARCHIPELAGO” PARCEL ROOF PLAN CIRCULATION MASTERPLAN STEMS FROM THE YONGSAN TRAIN STATION CONCEPT DIAGRAMS CONCEPTUAL PLANNING SCHEMES AND DIAGRAMS

Towers As Stylistic Epicenters

Urban Museum

Gardens Define Neighborhoods

18 DANIEL LIBESKIND TOWER

DOMINIQUE PERRAULT TOWER SOM TOWER

RENZO PIANO TOWER

LARGE SCALE WORKING SCHEMATIC MODELS PARTIAL PLAN AT CONNECTING PARCELS AND RETAIL PROMENADE SCHEMATIC STUDY MODELS OVERALL PLAN AT PUBLIC RETAIL PROMENADE

19 3D CIRCULATION DIAGRAMS AND PLAN OF RETAIL CENTER AT BASE OF LIBESKIND TOWER OVERALL ORGANIC RETAIL CIRCULATION PATHWAYS DIAGRAM SCHEMATIC MODEL AT VERTICAL GARDEN AT BASE OF LIBESKIND TOWER PLAN SKETCH

DENVER INTERNATIONAL AIRPORT PROJECT OFFICE: Denver / Los Angeles PROJECT TEAM: Adam Ambro / Garo Balmanoukian / Michelle Boll / Darlene Brown / Gretchen Bustillos / Aurora Carlon / John Circenis / Megan Espinosa / Brian Fraumeni / Vic Froglia / Alexandre Garrison / Kristen George / Adam Gumowski/ Jeff Hall / U. Andrea Hewitt / Golnar Iranpour / Tom Ito / Mike Janas/ Lisa Kong / Bryan Kristof / Jenny Lambrecht / Michelle Liebling / Bob Marcussen / Kap Malik / Lindsay Masteller / Brent Mather / Michael Maugel / Jonas Phillipsen / Bryan Oakes / Fong Liu / Glen Rasmussen / Candra Mathis / Rohini Saksena / Amy Siegel / Asami Tachikawa / Tet Takii / Morgan Weiner / Elizabeth Wendell / Warwick Wicksman / Michael Yeager LOCATION: Denver, Colorado, United States PROGRAM: Hotel, Transit Hub, Airport Security Check-Point, Conference CLIENT: Denver International Airport

PROJECT SUMMARY LOBBY

LOBBY

PLAZA

TRAIN

PLAZA

TRAIN

CANOPY - BUILDING RELATIONSHIP: DELICATE INTERFACE

DUAL CANOPY -2015, TENSILE/SUSPENSION By January the Denver International Airport will truly be an airport of the city – and no longer a remote satellite of Denver. The airport expansion will embrace the following three elements: a luxury hotel, an elite conference facility, and a new rail extension dedicated to air travelers and visitors. The train station will feature soaring glass cantilevers, as well as a 60,000-SF public plaza, joining the Jeppesen terminal with the new hotel in order to encourage interaction and DUAL CANOPY - CONFORM TO BUILDING MASS commerce. The proposed hotel features 500 rooms with exquisite views of Denver and the existing airport’s tensile roof tent structures. Additionally, the building will provide approximately 26,000 square feet of deluxe meeting spaces and fine dining, as well as a health club and swimming pool located within the saddle of the hotel’s curving top profile.

CANOPY - BI-DIRECTIONAL GESTURE

LOBBY

PLAZA

VIEWS

LOBBY

VIEWS

TRAIN

TRAIN GRAND OUTDOOR TRAIN HALL

OPEN TRAIN HALL VIEWS

PREFUNCTION HALL

VISUAL EXTENSION OF PUBLIC SPACES

CANOPY - SINGLE DIRECTION GESTURE

LOBBY

PLAZA

TRAIN

SINGLE CANOPY - TENSILE/SUSPENSION

CANOPY GESTURES TO TERMINAL

INITIAL SECTIONAL CANOPY PARTI STUDY LOBBY SPATIAL RELATIONSHIP AND INTEGRATION PLAZA

CANOPY GESTURES TOWARD TRAINS AND PASSENGERS

CONCEPTUAL AFFECT OF CANOPY FORM IN SECTION TRAIN

MASS TRANSIT BYPASS CIRCULATION INFRASTRUCTURE EXTENSION THROUGH BUILDING PODIUM SINGLE CANOPY - CONFORM TO BUILDING MASS

CANOPY DIRECTIONALITY

NON-SECURE FLOW FROM RTD TO EXISTING TERMINAL SSCP

B 60’-0”

NON-SECURE BYPASS CIRCULATION FROM RTD / ARRIVALS TO RTD DECEMBER 06, 2011 | 61

5437.95’

9’-2”

5428.78’

13’-9”

5415.03’ 15’-10”

5399.20’ 5385.20’ 5369.20’

14’-0” 16’-0” 16’-0”

5353.20’ 17’-10”

5336.20’ NEW AGTS TRACK LOWERED 3’-0” IN ELEVATION, FROM GRIDLINE ‘N1’ TO GRIDLINE ‘B’

AGTS EXISTING

The distinct form of the hotel tower derives inherently through functional, programmatic, and structural considerations. The saddle shape is the result of maintaining a view corridor to the peaks of the terminalâ&#x20AC;&#x2122;s tensile roof structure. This, along with a strict height restriction, leads to an elongation of the tower. Existing roadways servicing the terminal on both the east and west sides of the tower influence the building to cantilever at the ends with a twenty-six degree slope over the roadway to allow the minimum required space for the buildingâ&#x20AC;&#x2122;s program. An urgency to calibrate the airport surveillance radar systems to the new structures required the design team to set the maximum Cartesian extents of the new tower relatively early in the design process. From this point on, all sectional adjustments needed to accommodate vertical circulation, structure, and building mechanics, relied on tangential adjustments of the building form within the predefined extents.

GUESTROOM PRO FORMA / SITE CONSTRAINT SHAPE DRIVERS EXISTING AIRPORT TOWER SITING INFORMS BUILDING ENVELOPE VERTICAL CIRCULATION / STRUCTURAL FRAMING DIAGRAM

33 X=8316'-0" Y=1092'-7 13/16" Z=5511.76' X=8125'-9 3/8" Y=1092'-7 13/16" Z=5523.44' X=7874'-2 5/8" Y=1092'-7 13/16" Z=5523.44' X=8316'-0" Y=1023'-9 13/16" Z=5511.76'

X=7684'-0" Y=1092'-7 13/16" Z=5511.76'

X=8125'-9 3/8" Y=1023'-9 13/16" Z=5523.44' X=7874'-2 5/8" Y=1023'-9 13/16" Z=5523.44'

X=7684'-0" Y=1023'-9 13/16" Z=5511.76'

W11

W10

TRASH / LINEN CHUTE VENTILATION T.O. MAXIMUM OVERRUN AT SERVICE ELEVATOR AREA A - A3.10

861.68 SF SURFACE AREA INCREASE OF FACADE TO SOUTH FACADE WEST OF CL, CONDITION APPLIES TO SOUTH FACADE EAST OF CL, NORTH FACADE WEST OF CL, NORTH FACADE EAST OF CL

HEIGHT L

T.O. MAXIMUM OVERRUN AT PASSENGER ELEVATOR AREA B - A3.11

PENTHOU

LOCATION OF ADJUSTED ROOF FRAMING TO PREVENT CONFLICT WITH GUESTROOM, STRUCTURAL DEPTH BASED ON DIMENSIONS OF STEEL IN R16-2-STP_SA-S-1_CE95003.RVT LIN ON 120330

TOP OF BLUE FILLED REGION INDICATES NEW TOP OF CURTAIN WALL BOTTOM OF BLUE FILLED REGION INDICATES NEW TOP OF FINISHED ROOF. PROFILE IS SYMMETRICAL ABOUT THE TOWER CL. TYPICAL FOR NORTH ELEVATION. LOUVERED PANELS AND VENTILATION TO BE INDICATED

LOCATION OF ROOF FRAMINGSTRUCTURAL DEPTH BASED ON DIMENSIONS OF STEEL IN R16-2-STP_SA-S-1_CE95003.RVT LINKED ON 120330

ATLANTA FALCONS STADIUM PROJECT OFFICE: Los Angeles PROJECT TEAM: Ben Anderson / Michael Anderson / Lisa Asahara / Stacy Bisek / Steve Chung / Haley Coughlin / Jonathan Emmett / Kirk Funkhouser / Lorenzo Marasso / Lara Marrero / Sonny Putro / Daniel Seagraves / Joel Spearman / Eric Stultz / Ron Turner / Mike Wekesser / Ryan Whitacre / Don Williams LOCATION: Atlanta, Georgia, United States PROGRAM: Stadium CLIENT: Atlanta Falcons

PROJECT SUMMARY This 67,000-seat Stadium for the Atlanta Falcons NFL team is required to be expandable to 77,000 seats for Superbowl or World Cup games and have a retractable roof to enclose the space for conventions and basketball games. The design solution evokes images associated with football—muscularity, fluidity, and engagement—while clearly expressing the team’s brand. The architecture consists of two spiraling forms that envelop the seating bowl, conforming to the irregular voids and concourse program elements. The dynamism of the shapes culminates in the two ends that are cantilevered over opposing, yet key, site locations. The northeast corner sits on “Falcons Landing,” the main public entry and arrival point for most public transit-riding fans. The exterior skin rests on a tension-cable structure and consists of a lightweight grid shell, clad in a waterproof membrane and stainless steel paneling. The paneling varies in size and is overlaid on the grid shell in a pattern that reveals the red waterproofing membrane. In key locations, glass openings to the interior concourse allow views to the north and allow daylight on to the field. Large portions of the roof are made from clear ETFE pillows, allowing additional natural light into the stadium.

FORM DEFINITION DIAGRAMS - METAL PANEL SKIN SITE ADAPTATION - FORM GENERATION, PEDESTRIAN FLOW & VIEWS

Compression Ring

Tension Ring & Retractable Roof Frame

Envelope Frame

Skin Lattice Structure

Environmental Envelope

Metal Panels

47 SOUTH ELEVATION EAST ELEVATION

THE NEW HERITAGE HOTEL PROJECT OFFICE: Los Angeles PROJECT TEAM: Laila Ammar / Andy Cohen / Adam Gumowski / Kristen George / Tom Ito / Mike Janas / Steven UpChurch LOCATION: Albuquerque, New Mexico, United States PROGRAM: Boutique Hotel, Spa, and Restaurant CLIENT: Heritage Hotels & Resorts

PROJECT SUMMARY The New Albuquerque Hotel at Old Town is a 120 key boutique hotel property consisting of 5 levels and features a rooftop wedding venue and dining deck. The hotel also includes an outdoor garden, fine dining, and a spa/fitness facility, while each guestroom provides a balcony and its own fireplace. The northeast facing rooms celebrate stunning views of the Sandia Mountains, while rooms to the south overlook the garden and pool areas. The design references the Great Pueblos of Chaco Canyon through building orientation as well as local material usage. More specifically, the exterior of the building constitutes three unique facade types, each with their own distinctive characteristics, highlighting variations on a more solid building envelope rather than the prototypical glass hotel. This contributes to one of the main design objectives to create porous facades which still appear solid and “of the earth.”

A - Stone Facades B - Framed Layered Facades C - Southern Guestroom Facades

SKIN PARTI DIAGRAM FACADE A - PERSPECTIVE - WOVEN/STRATIFIED CONCEPT FACADE B - PERSPECTIVE - LAYERED CONCEPT FACADE C - PERSPECTIVE - BALANCED/SIMPLIFIED CONCEPT FACADE B - ELEVATION STUDIES FACADE B - ENLARGED PERSPECTIVES

SIMPLICITY PURITY

59 B - Framed Layered Facades

Pot by Tammy Garcia Pottery designed by New Mexican artist Tammy Garcia serves as inspiration for the layering of North and East facades.

Option 1

Option 2

Option 3

Option 4

60 A - Stone Facades

FACADE A - WEST WALL OF HOTEL FACADE A - WEST WALL ZOOMED IN FACADE A - GUESTROOM STONE WALL EXTERIOR ZOOM IN VIGNETTE OF BALCONY VIEWS FROM INTERIOR FACADE C - SOUTH GUESTROOM WALL CONCEPT FACADE C - SOUTH GUESTROOM WALL PERSPECTIVES

C - Southern Guestroom Facades

Feature Waterwall

Ticketing Roof

Clerestory Window

CHANGI SINGAPORE AIRPORT T4 PROJECT OFFICE: Los Angeles PROJECT TEAM: Terence Young / Marisol Mejia/ Matthew Johnston / Cody Campbell / Leigh Kobe / William Jenkinson / Keith Thompson / Ray Shick / Steve Weindel LOCATION: Changi, Singapore PROGRAM: New Airport Terminal CLIENT: Changi Airport Group

Baggage Claim Hall

Outbound Baggage Handling

Touch Pond

Boutique Retail

Waterfall Roof

Bio-Swale Column

Baggage Make-up and Operations

Retail Garden/Fountain

Outbound Baggage Screening

Level 03 Retail/Cafe

The waterfall roof is shaped in order to re-direct rainwater into the center of the retail garden via 3 bio-swale columns. The bio-swale columns ďŹ lter and re-distribute water throughout the Retail Garden in order to support the large amount of irrigation needed for landscaping.

PROJECT SUMMARY The design of Changi Terminal 4 creates a passenger experience emblematic of the culture and region of Singapore, the climatic factors of the region, and the characteristics of the specific site. Spatiality, high-performance materials, and advanced strategies are used to create a dialogue about resource management, environmental stewardship, and, ultimately, the role of architecture and artifice within nature. A building is proposed that places the passenger in a vibrant garden environment that is unmistakably Singaporean. The design creates a narrative experience that speaks of arrival into a rainforest pavilion. This “Rainforest Pavilion,” responds to the environmental themes of Singapore’s “City in a Garden” initiative, exploiting rainfall and providing ponds and pools to redefine the passenger experience.

Ticketing Hall Roof

Retail Garden Roof

Departure Concourse Roof Drop-Oﬀ

Ticketing-Hall Ticketing-Island

PROJECT AERIAL VIEW ROOF GEOMETRY FLOW DIAGRAM

Touch Pond/Feature Wall Retail

“WATERFALL” ROOF DESIGN STUDIES

Touch Pond Info Counter

INTERIOR VIEW OF STRUCTURAL “BIO-SWALE COLUMNS” ROOF WATER FLOW DIAGRAM

Bio-Swale Column/Fountain

Singapore experiences nearly 90 inches of rainfall each year, yet imports much of its water. The sculptural bio-swale columns act as greenhouses with vegetation growing inside as well as outside them. During periods of rain, filtered rainwater is conveyed through these columns to ornamental pools on the way to storage cisterns. These environments become selfsustaining pockets of rainforest and serve to entertain, relax, and educate passengers on biodiversity and local water issues.

Rain Collection/Drainage Flow

Surface Peak

Surface Valley

Bio-swale Column

The solar model shows that a near east/west orientation of louvers is most efficient for glare reduction.

LOUVER SHADING STUDY FOR CONCOURSE FACADE LOUVER SYSTEM STUDY LOUVER SHADING STUDY FOR DEPARTURE CURTAIN WALL SUN AND SHADOW PATH ANALYSIS LOUVER COLOR GRADIENT AND DENSITY STUDY LOUVER COLOR GRADIENT AND DENSITY STUDY

ROOF AS WATER CATCHMENT AND SCULPTURAL DESIGN FEATURE

The Waterfall Wall The design of Terminal 4 is created to continue the dialogue of water as a resource. The use of filtered rainwater to nourish the interior landscaping, to wash equipment, to flow through the air conditioning system, to flush restroom toilets, and to serve all other non-potable uses is a step towards achieving “net-zero water.” However, the real opportunity is to integrate these systems within the architectural experience. This building responds to the weather conditions outside and creates an experience of the senses whenever it rains. Water features highlight the water retention system and create interior waterfalls and pools for passengers to enjoy.

FEATURE WATERFALL WALL AND POND CATCHMENT SECTION DIAGRAM FEATURE WATERFALL WALL DETAIL

PLANET HOLLYWOOD LIVE PROJECT OFFICE: Las Vegas PROJECT TEAM: Beth Campbell / Duncan Paterson / Brett Robillard / Alicia Wagner / Chris Koch / Brett Osness/ Francisco Loredo / Jacob Rivard / Heather Jones LOCATION: Las Vegas, Nevada, United States PROGRAM: Entertainment Venue CLIENT: Caesars Entertainment Corporation

PROJECT SUMMARY The formal gesture of Planet Hollywood Live is inspired by the fluid artistry of music and performance. Spatial motion through the orchestration of fluid architectural form reacts to the existing elliptical geometries within the space, causing traditional lines to move from straight to curved. These sculptural forms flow seamlessly from one program to another, molding ground, wall, ceiling, and staircase into one holistic environment. This fluidity provides an intuitive visual and physical guide for visitors to become immersed into the experience of a â&#x20AC;&#x153;performativeâ&#x20AC;? architectural composition. Experiential architecture evokes emotive responses in each individual inhabiting the space. It is through architectural form and materiality that one can dictate the emotive qualities of the spatial experience.

SECTION DIAGRAMS OF SPACE IN MOTION PERSPECTIVE DIAGRAMS OF CONTINUITY

TRADITION

ADD CONTEXT

CREATE MOTION

LAYER MOTION

SPACE IN MOTION

The experiential goal of the project was to create a visually provocative space that moves a person through an architecture based on the fluidity of music and performance. A sharp, transitional element funnels people from the Miracle Mile into the lobby space of the theatre where form begins to set the elliptical dome into motion. Like a symphony of parts, curvilinear elements split, merge, congregate, and move throughout the space, creating trajectories vertically as well as horizontally towards the stage.

EXPERIENCE IN PLAN SKETCH OF EXPERIENCE IN PLAN PERSPECTIVE VIEW OF ELEMENTS OF EXPERIENCE

DN 5R

UP 25R

UP 5R

RAMP

UP 5R

SECTION

The programmable elements are generated through the synergy of audience and performer in order to achieve one cohesive spatial experience. The four elements divide the venue into a series of pulsating spaces, each playing an important role in fusing the journey from the entry to the stage.

UP 25R

ARRIVAL EXPERIENCE

PAGEANTRY EXPERIENCE

TRANSITION EXPERIENCE

PERFORMANCE EXPERIENCE

Fusion of Audience & Performer

Afterword

Design goes beyond facts to create fiction, and beyond information to spur the imagination. As Louis I. Kahn once said, we use the measurable to attain the immeasurable. It is easy to lose sight of this in a time where copious amounts of information can obscure the more ephemeral sensibilities of time and place. As search engines allow one to construct one’s own reality, creating a plethora of special interest groups, where does the humanist experiment that searches for what unites us go from here? Does our ability today to ascertain the exact neighborhoods that will turn a general election, make us less general and more segregated? In this context, where can the unpredictability that can generate surprise, wonder take hold? Perhaps ‘waste’ can be seen as the space where such wonder can reside. As the director Elia Kazan once said “wonder is our need today, not information”. As Gensler continues to evolve, the objective for Ideas_ remains unchanged: to document and present not only the “what,” but also the “how” and “why” of our work—and, in doing so, make an argument for the legitimacy of our approach to design. As we put it in Ideas_1: “This position is rooted in the belief that: • The design process at Gensler must be commensurate with the Bigness of its practice.

• Subjectivity exists in any design process, but that the scale and pace of working methods necessary to produce one’s personal esthetic is not compatible with Bigness. • Design is driven by ideas that establish an operative logic for reference during all phases of architectural production, and this logic provides an operational framework for all team members to meaningfully contribute to the process, thereby affording the opportunity to optimize Bigness.” Ideas_1, page 1 This idea-driven design process also changes the structure of our design teams: “...the traditional role of the individual design leader as one who authors the design through a personal esthetic facilitated by a team now becomes that of leading a team that stewards the idea through the various project forces. This new role manifests in a team structure that operates at a scale commensurate with the Bigness of a big practice.” Ideas_1, page 2 Ultimately, ideas are where our people and our work meet; they guide the participation and collaborative processes of our people; they are evident in the work. This journal serves as a recording of this engagement. It is also serves as a benchmark of “…this process [at Gensler] as it is conceived within a larger conceptual

framework at this time, and to act as a resource of ideas, logics, and design methods to be shared by all who have committed themselves to this ‘place.’” Ideas_1, page 3 Ideas_ is a Southwest Region publication organized and produced by the Design Directors of Los Angeles. Its content is selected from work designed in the studios of our Region’s six offices: Denver, Las Vegas, Los Angeles, Newport Beach, Phoenix, and San Diego. We thank Andy Cohen, Rob Jernigan, and Gene Watanabe for their support in its continuing publication. _The Editorial Team

Dave Bantz

Kristen George

Jaclyn Lazur

Li Wen

Mini Chu

Golnar Iranpour

Benjamin McAlister

Shira Zur

Brian Fraumeni

Mindy King

Marisol Mejia

Shawn Gehle

Heidi Konieczka

Meghan Moran

IDEAS 6 EDITORIAL TEAM

Sketch Index Page Project Location Gensler Office HMA Headquarters Bot. Left Yongsan Retail Center 9 Atlantis Dubai 10 Top Brighton Pavilions Bottom San Diego Airport 11 Martin Luther King Medical Center Campus Expansion 12 Gensler Los Angeles Office T. Right Singapore Changi Terminal 4 Competition Bot. Left Istanbul Hub 13 Top Istanbul Hub Bottom Confidential Project

Fountain Valley, California, United States Los Angeles Seoul, South Korea Los Angeles Dubai, United Arab Emirates Los Angeles Colorado, United States Denver San Diego, California, United States Los Angeles Los Angeles, California, United States Los Angeles Los Angeles, California, United States Los Angeles Changi, Singapore Los Angeles Istanbul, Turkey Los Angeles Istanbul, Turkey Los Angeles

22 23 24-25 26-27

Istanbul, Turkey Los Angeles, California, United States Madrid, Spain Chennai, India

Istanbul HUB - Istanbul Seven Gardens Masterplan Gensler Los Angeles Office The Sands Garden Casino Chennai International Airport

Los Angeles Los Angeles Las Vegas / Los Angeles DC / Houston / LA / NY

Plan

Section

36-37 River Oaks Houston, Texas, United States Los Angeles 38 ITC Hyderabad, India Los Angeles 39 Sunset Bronson Studios Los Angeles, California, United States Los Angeles 40 First South Calgary, Alberta Canada Los Angeles 41 PVR Anupam New Dehli, India Los Angeles

Form

50-51 52 53 54 55

Arizona State University, College Avenue Commons Parque Arauco Incheon International Airport HMA Headquarters Gensler Newport Beach Office

Tempe, Arizona, United States Las Condes, Chile Incheon, South Korea Fountain Valley, California, United States Newport Beach, California, United States

Phoenix Los Angeles Los Angeles Los Angeles Newport Beach

Skin

64 65 66 67 68-69

Istanbul HUB - Istanbul Seven Gardens Masterplan Denver International Airport Hertz Facility Development Confidential Project Farmers Field

Istanbul, Turkey Denver, Colorado, United States Los Angeles, California, United States Macao, China Los Angeles, California, United States

Los Angeles Denver / Los Angeles Los Angeles Los Angeles Los Angeles

Performance

78-79 80 Bot. Left 80-81 82-83

Quicksilver Gensler Newport Beach Office Playa Jefferson Bergamot Transit Village

Huntington Beach, California, United States Newport Beach, California, United States Los Angeles, California, United States Santa Monica, California, United States

Los Angeles / Newport Beach Newport Beach Los Angeles Los Angeles

Experience

Printed in China